When is a double g not a double g? It would seem to depend on whom we talk to. Theorists and violists would maintain that what we call a â€œdouble Câ€ (c4), is in fact a b-flat 3, or in other words, a â€œhigh Bb.â€ This is because notes names are based on the lowest note of a scale starting on c, be it Sub-Contra C or whatever, and all the ascending notes belong to the same species. Hence, our double g must be higher, not lower, than a double c. Trumpet players are not violists, however, and those that are theorists are thankfully first and foremost trumpet players. In trumpet-speak of ages ago our pedal c was called â€œBasso.â€ Our low g was called â€œVulgano.â€ Middle c, e, and g belonged to the â€œPrincipaleâ€ player. The â€œClariniâ€ got to spend most their time between c and high c, sometimes dipping down to what was for them a â€œlowâ€ g (even as low as the Vulgano g, as in the Christmas Oratorio or up to a double g in Michael Haydn). A notated c an octave above high c is rightfully called a double c, and for trumpet players the g below that may be rightfully considered a double g. That does not, however, excuse us for playing without taste (unless attacking violists).